them together, with expressions suited to their attitudes.
/Chap. CCCLIII./--_How to make an imaginary Animal appear natural._
/It/ is evident that it will be impossible to invent any animal without
giving it members, and these members must individually resemble those
of some known animal.
If you wish, therefore, to make a chimera, or imaginary animal, appear
natural (let us suppose a serpent); take the head of a mastiff, the
eyes of a cat, the ears of a porcupine, the mouth of a hare, the
brows of a lion, the temples of an old cock, and the neck of a sea
tortoise[100].
/Chap. CCCLIV./--_Painters are not to imitate one another._
/One/ painter ought never to imitate the manner of any other; because
in that case he cannot be called the child of Nature, but the
grandchild. It is always best to have recourse to Nature, which is
replete with such abundance of objects, than to the productions of
other masters, who learnt every thing from her.
/Chap. CCCLV./--_How to judge of one's own Work._
/It/ is an acknowledged fact, that we perceive errors in the works of
others more readily than in our own. A painter, therefore, ought to
be well instructed in perspective, and acquire a perfect knowledge of
the dimensions of the human body; he should also be a good architect,
at least as far as concerns the outward shape of buildings, with their
different parts; and where he is deficient, he ought not to neglect
taking drawings from Nature.
It will be well also to have a looking-glass by him, when he paints,
to look often at his work in it, which being seen the contrary way,
will appear as the work of another hand, and will better shew his
faults. It will be useful also to quit his work often, and take some
relaxation, that his judgment may be clearer at his return; for too
great application and sitting still is sometimes the cause of many
gross errors.
/Chap. CCCLVI./--_Of correcting Errors which you discover._
/Remember/, that when, by the exercise of your own judgment, or the
observation of others, you discover any errors in your work, you
immediately set about correcting them, lest, in exposing your works to
the public, you expose your defects also. Admit not any self-excuse,
by persuading yourself that you shall retrieve your character, and
that by some succeeding work you shall make amends for your shameful
negligence; for your work does not perish as soon as it is out of your
hands, like the sound of music, but remains a standing monument of your
ignorance. If you excuse yourself by saying that you have not time for
the study necessary to form a great painter, having to struggle against
necessity, you yourself are only to blame; for the study of what is
excellent is food both for mind and body. How many philosophers, born
to great riches, have given them away, that they might not be retarded
in their pursuits!
/Chap. CCCLVII./--_The best Place for looking at a Picture._
/Let/ us suppose, that A B is the picture, receiving the light from D;
I say, that whoever is placed between C and E, will see the picture
very badly, particularly if it be painted in oil, or varnished; because
it will shine, and will appear almost of the nature of a looking-glass.
For these reasons, the nearer you go towards C, the less you will be
able to see, because of the light from the window upon the picture,
sending its reflection to that point. But if you place yourself between
E D, you may conveniently see the picture, and the more so as you draw
nearer to the point D, because that place is less liable to be struck
by the reflected rays.
[Illustration]
/Chap. CCCLVIII./--_Of Judgment._
/There/ is nothing more apt to deceive us than our own judgment, in
deciding on our own works; and we should derive more advantage from
having our faults pointed out by our enemies, than by hearing the
opinions of our friends, because they are too much like ourselves, and
may deceive us as much as our own judgment.
/Chap. CCCLIX./--_Of Employment anxiously wished for by Painters._
/And/ you, painter, who are desirous of great practice, understand,
that if you do not rest it on the good foundation of Nature, you will
labour with little honour and less profit; and if you do it on a good
ground your works will be many and good, to your great honour and
advantage.
/Chap. CCCLX./--_Advice to Painters._
/A painter/ ought to study universal Nature, and reason much within
himself on all he sees, making use of the most excellent parts that
compose the species of every object before him. His mind will by this
method be like a mirror, reflecting truly every object placed before
it, and become, as it were, a second Nature.
/Chap. CCCLXI./--_Of Statuary._
/To/ execute a figure in marble, you must first make a model of it in
clay, or plaster, and when it is finished, place it in a square case,
equally capable of receiving the block of marble intended to be shaped
like it. Have some peg-like sticks to pass through holes made in the
sides, and all round the case; push them in till every one touches the
model, marking what remains of the sticks outwards with ink, and making
a countermark to every stick and its hole, so that you may at pleasure
replace them again. Then having taken out the model, and placed the
block of marble in its stead, take so much out of it, till all the pegs
go in at the same holes to the marks you had made. To facilitate the
work, contrive your frame so that every part of it, separately, or all
together, may be lifted up, except the bottom, which must remain under
the marble. By this method you may chop it off with great facility[101].
/Chap. CCCLXII./--_On the Measurement and Division of Statues into
Parts._
/Divide/ the head into twelve parts, each part into twelve degrees,
each degree into twelve minutes, and these minutes into seconds[102].
/Chap. CCCLXIII./--_A Precept for the Painter._
/The/ painter who entertains no doubt of his own ability, will attain
very little. When the work succeeds beyond the judgment, the artist
acquires nothing; but when the judgment is superior to the work, he
never ceases improving, if the love of gain do not retard his progress.
/Chap. CCCLXIV./--_On the Judgment of Painters._
/When/ the work is equal to the knowledge and judgment of the painter,
it is a bad sign; and when it surpasses the judgment, it is still
worse, as is the case with those who wonder at having succeeded so
well. But when the judgment surpasses the work, it is a perfectly good
sign; and the young painter who possesses that rare disposition, will,
no doubt, arrive at great perfection. He will produce few works, but
they will be such as to fix the admiration of every beholder.
/Chap. CCCLXV./--_That a Man ought not to trust to himself, but ought
to consult Nature._
/Whoever/ flatters himself that he can retain in his memory all the
effects of Nature, is deceived, for our memory is not so capacious;
therefore consult Nature for every thing.
THE END.
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FOOTNOTES:
[Footnote i1: Vasari, Vite de Pittori, edit. Della Valle, 8vo. Siena
1792, vol. v. p. 22. Du Fresne, in the life prefixed to the Italian
editions of this Treatise on Painting. Venturi, Essai sur les Ouvrages
de Leonard de Vinci, 4to. Paris, 1797, p. 3, 36.]
[Footnote i2: Venturi, p. 3.]
[Footnote i3: Vasari, 23.]
[Footnote i4: Du Fresne.]
[Footnote i5: Du Fresne. Vasari, 25.]
[Footnote i6: Vasari, 26. Du Fresne.]
[Footnote i7: Du Fresne.]
[Footnote i8: Vasari, 26.]
[Footnote i9: Vasari, 28.]
[Footnote i10: Du Fresne. Vasari, 28.]
[Footnote i11: Du Fresne. Vasari, 28.]
[Footnote i12: Vasari, 28.]
[Footnote i13: It is impossible in a translation to preserve the jingle
between the name Vinci, and the Latin verb _vincit_ which occurs in the
original.]
[Footnote i14: Du Fresne, Vasari, 28.]
[Footnote i15: Vasari, 22.]
[Footnote i16: Vasari, 22 and 23.]
[Footnote i17: Lomazzo, Trattato della Pittura, p. 282.]
[Footnote i18: Vasari, 23. Du Fresne.]
[Footnote i19: Venturi, 37.]
[Footnote i20: Du Fresne.]
[Footnote i21: Venturi, 36.]
[Footnote i22: Du Fresne.]
[Footnote i23: Vasari, 30. Lettere Pittoriche, vol. ii. p. 184.]
[Footnote i24: Venturi, 3.]
[Footnote i25: Suppl. to Life of L. da Vinci, in Vasari, 65. Du Fresne.]
[Footnote i26: Venturi, 36; who mentions also, that Leonardo at this
time constructed a machine for the theatre.]
[Footnote i27: Venturi, p. 44.]
[Footnote i28: Suppl. in Vasari, 74.]
[Footnote i29: Suppl. in Vasari, 63.]
[Footnote i30: Du Fresne.]
[Footnote i31: Du Fresne.]
[Footnote i32: De Piles, in the Life of Leonardo. See Lettere
Pittoriche, vol. ii. p. 187.]
[Footnote i33: Lettere Pittoriche, vol. ii. p. 187.]
[Footnote i34: Du Fresne. Lettere Pitt. vol. ii. p. 186.]
[Footnote i35: Vasari, 31, in a note.]
[Footnote i36: Let. Pit. vol. ii. 183.]
[Footnote i37: Additions to the Life in Vasari, 53. My worthy friend,
Mr. Rigaud, who has more than once seen the original picture, gives
this account of it: "The cutting of the wall for the sake of opening
a door, was no doubt the effect of ignorance and barbarity, but it
did not materially injure the painting; it only took away some of the
feet under the table, entirely shaded. The true value of this picture
consists in what was seen above the table. The door is only four
feet wide, and cuts off only about two feet of the lower part of the
picture. More damage has been done by subsequent quacks, who, within my
own time, have undertaken to repair it."]
[Footnote i38: Additions to the Life in Vasari, 53.]
[Footnote i39: COPIES EXISTING IN MILAN OR ELSEWHERE.
No. 1. That in the refectory of the fathers Osservanti della Pace: it
was painted on the wall in 1561, by Gio. Paolo Lomazzo.
2. Another, copied on board, as a picture in the refectory of the
Chierici Regolari di S. Paolo, in their college of St. Barnabas. This
is perhaps the most beautiful that can be seen, only that it is not
finished lower than the knees, and is in size about one eighth of the
original.
3. Another on canvas, which was first in the church of S. Fedele, by
Agostino S. Agostino, for the refectory of the Jesuits: since their
suppression, it exists in that of the Orfani a S. Pietro, in Gessate.
4. Another of the said Lomazzo's, painted on the wall in the monastery
Maggiore, very fine, and in good preservation.
5. Another on canvas, by an uncertain artist, with only the heads and
half the bodies, in the Ambrosian library.
6. Another in the Certosa di Pavia, done by Marco d'Ogionno, a scholar
of Leonardo's, on the wall.
7. Another in the possession of the monks Girolamini di Castellazzo
fuori di Porta Lodovica, of the hand of the same Ogionno.
8. Another copy of this Last Supper in the refectory of the fathers
of St. Benedict of Mantua. It was painted by Girolamo Monsignori, a
Dominican friar, who studied much the works of Leonardo, and copied
them excellently.
9. Another in the refectory of the fathers Osservanti di Lugano, of the
hand of Bernardino Lovino; a valuable work, and much esteemed as well
for its neatness and perfect imitation of the original, as for its own
integrity, and being done by a scholar of Leonardo's.
10. A beautiful drawing of this famous picture is, or was lately, in
the possession of Sig. Giuseppe Casati, king at arms. Supposed to be
either the original design by Leonardo himself, or a sketch by one of
his best scholars, to be used in painting some copy on a wall, or on
canvas. It is drawn with a pen, on paper larger than usual, with a mere
outline heightened with bistre.
11. Another in the refectory of the fathers Girolamini, in the
monastery of St. Laurence, in the Escorial in Spain. It was presented
to King Philip II. while he was in Valencia; and by his order placed in
the said room where the monks dine, and is believed to be by some able
scholar of Leonardo.
12. Another in St. Germain d'Auxerre, in France; ordered by King
Francis I. when he came to Milan, and found he could not remove the
original. There is reason to think this the work of Bernardino Lovino.
13. Another in France, in the castle of Escovens, in the possession of
the Constable Montmorency.
The original drawing for this picture is in the possession of his
Britannic Majesty. See the life prefixed to Mr. Chamberlaine's
publication of the Designs of Leonardo da Vinci, p. 5. An engraving
from it is among those which Mr. Rogers published from drawings.]
[Footnote i40: Vasari, 34. Du Fresne.]
[Footnote i41: Du Fresne.]
[Footnote i42: Vasari, 36. Du Fresne.]
[Footnote i43: Vasari, 37. Du Fresne.]
[Footnote i44: Du Fresne.]
[Footnote i45: Suppl. in Vasari, 64.]
[Footnote i46: Du Fresne.]
[Footnote i47: Suppl. in Vasari, 75, 76, 77, 78.]
[Footnote i48: Vasari, 38. Du Fresne.]
[Footnote i49: Du Fresne.]
[Footnote i50: Du Fresne.]
[Footnote i51: Vasari, 39. Du Fresne.]
[Footnote i52: Vasari, 39. Du Fresne.]
[Footnote i53: Vasari, 39. Du Fresne.]
[Footnote i54: Du Fresne.]
[Footnote i55: Supp. in Vasari, 81.]
[Footnote i56: Suppl. in Vasari, 68.]
[Footnote i57: Vasari, 42. Du Fresne.]
[Footnote i58: Du Fresne.]
[Footnote i59: Du Fresne.]
[Footnote i60: Venturi, 37.]
[Footnote i61: Du Fresne.]
[Footnote i62: Venturi, 37.]
[Footnote i63: Venturi, 38.]
[Footnote i64: Venturi, 37.]
[Footnote i65: Du Fresne.]
[Footnote i66: Venturi, 38.]
[Footnote i67: Venturi, 38.]
[Footnote i68: Du Fresne.]
[Footnote i69: Vasari, 44. Du Fresne.]
[Footnote i70: Vasari, 44. Du Fresne.]
[Footnote i71: Du Fresne.]
[Footnote i72: Suppl. in Vasari, 79, 80.]
[Footnote i73: Suppl. in Vasari, 80.]
[Footnote i74: Suppl. in Vasari, 65.]
[Footnote i75: Vasari, 45. Du Fresne.]
[Footnote i76: Venturi, 39. Suppl. in Vasari, 80.]
[Footnote i77: Venturi, p. 4.]
[Footnote i78: Sect. 1. Of the Descent of heavy Bodies, combined with
the Rotation of the Earth. 2. Of the Earth divided into Particles. 3.
Of the Earth and the Moon. 4. Of the Action of the Sun on the Sea. 5.
Of the ancient State of the Earth. 6. Of the Flame and the Air. 7.
Of Statics. 8. Of the Descent of heavy Bodies by inclined Planes. 9.
Of the Water which one draws from a Canal. 10. Of Whirlpools. 11. Of
Vision. 12. Of military Architecture. 13. Of some Instruments. 14. Two
chymical Processes. 15. Of Method.]
[Footnote i79: See the Life prefixed to Mr. Chamberlaine's publication
of the Designs of Leonardo da Vinci, p. 11.]
[Footnote i80: Fac similes of some of the pages of the original work,
are also to be found in this publication.]
[Footnote i81: P. 33.]
[Footnote i82: "J. A. Mazenta died in 1635. He gave the designs for the
fortifications of Livorno in Tuscany; and has written on the method
of rendering the Adda navigable. Argelati Script. Mediol. vol. ii."
Venturi, 33.]
[Footnote i83: "We shall see afterwards that this man was Leonardo's
heir: he had carried back these writings and drawings from France to
Milan." Venturi, 34.]
[Footnote i84: "This was in 1587." Venturi, p. 34.]
[Footnote i85: "J. Amb. Mazenta made himself a Barnabite in 1590."
Venturi, 34.]
[Footnote i86: "The drawings and books of Vinci are come for the most
part into the hands of Pompeo Leoni, who has obtained them from the
son of Francisco Melzo. There are some also of these books in the
possession of Guy Mazenta Lomazzo, Tempio della Pittura, in 4^o, Milano
1590, page 17." Venturi, 35.]
[Footnote i87: "It is volume C. There is printed on it in gold, _Vidi
Mazenta Patritii Mediolanensis liberalitate An. 1603_." Venturi, 35.]
[Footnote i88: "He died in 1613." Venturi, 35.]
[Footnote i89: "This is volume N, in the National Library. It is in
folio, of a large size, and has 392 leaves: it bears on the cover
this title: _Disegni di Macchine delle Arti secreti et altre Cose di
Leonardo da Vinci, raccolte da Pompeo Leoni_." Venturi, 35.]
[Footnote i90: P. 36.]
[Footnote i91: "A memorial is preserved of this liberality by an
inscription." Venturi, 36.]
[Footnote i92: "This is marked at p. 1 of the same volume." Venturi,
36.]
[Footnote i93: Venturi, 36.]
[Footnote i94: "Lettere Pittoriche, vol. ii." Venturi, 36.]
[Footnote i95: P. 36. His authority is Gerli, Disegni del Vinci,
Milano, 1784, fol.]
[Footnote i96: P. 42.]
[Footnote i97: It is said, that this compilation is now in the Albani
library. Venturi, 42.]
[Footnote i98: The sketches to illustrate his meaning, were probably
in Leonardo's original manuscripts so slight as to require that more
perfect drawings should be made from them before they could be fit for
publication.]
[Footnote i99: The identical manuscript of this Treatise, formerly
belonging to Mons. Chardin, one of the two copies from which the
edition in Italian was printed, is now the property of Mr. Edwards of
Pall Mall. Judging by the chapters as there numbered, it would appear
to contain more than the printed edition; but this is merely owing to
the circumstance that some of those which in the manuscript stand as
distinct chapters, are in the printed edition consolidated together.]
[Footnote i100: Vasari, p. 37, gives the initials N. N.]
[Footnote i101: Which Venturi, p. 6, professes his intention of
publishing from the manuscript collections of Leonardo.]
[Footnote i102: Bibliotheca Smithiana, 4to. Ven. 1755. Venturi, 44.]
[Footnote i103: Libreria Nani, 4to. Ven. 1776. Venturi, 44.]
[Footnote i104: Gori Simbolæ literar. Flor. 1751, vol. viii. p. 66.
Venturi, 44.]
[Footnote i105: See his Traité des Pratiques Geometrales et
Perspectives, 8vo. Paris, 1665.]
[Footnote i106: P. 128.]
[Footnote i107: P. 134.]
[Footnote i108: He observed criminals when led to execution (Lett.
Pitt. vol. ii. p. 182; on the authority of Lomazzo); noted down any
countenance that struck him (Vasari, 29); in forming the animal for
the shield, composed it of parts selected from different real animals
(Vasari, p. 27); and when he wanted characteristic heads, resorted to
Nature (Lett. Pitt. vol. ii. p. 181). All which methods are recommended
by him in the course of the Treatise on Painting.]
[Footnote i109: Du Fresne.]
[Footnote i110: Venturi, 35, in a note.]
[Footnote i111: Vasari, 23.]
[Footnote i112: Vasari, 24.]
[Footnote i113: Suppl. in Vasari, 67.]
[Footnote i114: Vasari, 23.]
[Footnote i115: Ibid.]
[Footnote i116: Vasari, 45.]
[Footnote i117: Additions to the life in Vasari, p. 47.]
[Footnote i118: Suppl. in Vasari, 74.]
[Footnote i119: Vasari, 24.]
[Footnote i120: Vasari, 26.]
[Footnote i121: Vasari, 29.]
[Footnote i122: Additions to the life in Vasari, 61.]
[Footnote i123: Lett. Pitt. vol. ii. 171.]
[Footnote i124: Vasari, 29.]
[Footnote i125: Ibid.]
[Footnote i126: Ibid.]
[Footnote i127: Venturi, 42.]
[Footnote i128: Vasari, 39. In a note in Lettere Pittoriche, vol.
ii. p. 174, on the before cited letter of Mariette, it is said that
Bernardino Lovino was a scholar of Leonardo, and had in his possession
the carton of St. Ann, which Leonardo had made for a picture which he
was to paint in the church della Nunziata, at Florence. Francis I. got
possession of it, and was desirous that Leonardo should execute it when
he came into France, but without effect. It is known it was not done,
as this carton went to Milan. Lomazzo, lib. ii. cap. 17. Lett. Pitt.
vol. ii. p. 174, in a note. A carton similar to this is now in the
library of the Royal Academy, at London.]
[Footnote i129: Vasari, p. 39, in a note.]
[Footnote i130: Vasari, 41. In the suppl. to the life, Vasari, 68, the
subject painted in the council-chamber at Florence is said to be the
wonderful battle against Attila.]
[Footnote i131: Du Fresne. Vasari, 28.]
[Footnote i132: Du Fresne.]
[Footnote i133: Additions to the Life in Vasari, 48.]
[Footnote i134: Ibid.]
[Footnote i135: Additions to the Life in Vasari, 60.]
[Footnote i136: Lett. Pitt. vol. ii. p. 198.]
[Footnote i137: Lett. Pitt. vol. ii. p. 200.]
[Footnote i138: Additions to the Life in Vasari, 68.]
[Footnote i139: Ibid.]
[Footnote i140: Ibid.]
[Footnote i141: Ibid.]
[Footnote i142: Lett. Pitt. vol. ii. 198.]
[Footnote i143: Vasari, 28.]
[Footnote i144: The Datary is the Pope's officer who nominates to
vacant benefices.]
[Footnote i145: Vasari, 44.]
[Footnote i146: Du Fresne.]
[Footnote i147: Du Fresne. Additions in Vasari, 60.]
[Footnote i148: Lett. Pitt. vol. ii. 196.]
[Footnote i149: Du Fresne.]
[Footnote i150: Du Fresne. Additions to Vasari, 60.]
[Footnote i151: Additions to Vasari, 59.]
[Footnote i152: Additions to Vasari, 60.]
[Footnote i153: Additions to Vasari, 60.]
[Footnote i154: Additions in Vasari, 61.]
[Footnote i155: Suppl. in Vasari, 68.]
[Footnote i156: Du Fresne.]
[Footnote i157: Additions to Vasari, 59.]
[Footnote i158: Vasari, 25.]
[Footnote i159: Vasari, 28.]
[Footnote i160: Vasari, 29.]
[Footnote i161: Vasari, 30. In p. 29, it is said in a note, that
there is in the Medici gallery an Adoration of the Magi, by Leonardo,
unfinished, which may probably be the picture of which Vasari speaks.]
[Footnote i162: Vasari, 30.]
[Footnote i163: Lett. Pitt. vol. ii. 184. The real fact is known to be,
that it was engraven from a drawing made by Rubens himself, who, as I
am informed, had in it altered the back-ground.]
[Footnote i164: Lett. Pitt. vol. ii. 195.]
[Footnote i165: Vasari, 30.]
[Footnote i166: Vasari, 33.]
[Footnote i167: Venturi, 4.]
[Footnote i168: Venturi, 37.]
[Footnote i169: Suppl. in Vasari, 68.]
[Footnote i170: Vasari, 39.]
[Footnote i171: Ibid.]
[Footnote i172: Suppl. in Vasari, 60.]
[Footnote i173: Vasari, 44.]
[Footnote i174: Du Fresne.]
[Footnote i175: Du Fresne.]
[Footnote i176: Suppl. in Vasari, 61.]
[Footnote i177: Ibid. 81.]
[Footnote i178: Du Fresne.]
[Footnote i179: Du Fresne. Add. to the Life in Vasari, 60.]
[Footnote i180: Suppl. in Vasari, 69.]
[Footnote i181: Du Fresne. Add. to Vasari, 60.]
[Footnote i182: Du Fresne.]